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Interesting read.
Funny coincidence that he mentions wanting to do a collaboration with Mark Knopfler, and on the same day you posted this, I saw Knopfler in concert with Emmylou Harris (http://www.dimeadozen.org/torrents-deta … ?id=102039 for any DIME users who are interested).
It was a good show, but it’s hard to imagine the two collaborating live (in the studio, though, it could make something great). Knopfler is amazingly talented but is a stickler for tightly rehearsed shows – he plays more or less the exact same setlist (give or take a couple fixed songs depending on the total time available) for every show on a tour. Given how Bruce chafed at the Dead shows for being too strucutred, it’s pretty much impossible for me to envision them touring together. And it’s hard to imagine Mark opening up a show enough to have Bruce sit in for a song or two, or feeling comfortable just dropping in for a song or two with Bruce without rehearsing first.
Of course, I’d love to be proven wrong.
Review of “All The Roadrunnig “
Hi Will,
Thanks for your interesting comment.
Here is a translation of a Czech review of Knopfler’s latest album.
The author of this review, Josef Vlček, is one of the best Czech music critics. His reviews have always been very insightful. His review of Harbor Lights has made me to buy it and become Bruce’s fan.Mark Knopfler Gets Back to the Roots of the Country Music
The latest solo albums of Mark Knopfler were formally overcomplicated and soulless. That has made the new album called All The Roadrunnig even more awaited. Knopfler has recorded it in the course of seven years with Emmylou Harris who has been for more than thirty years the best backup singer in the country music.
Nothing revolutionary has happened, only a couple of experienced musicians has recorded a good and sincere album. With the exception of few moments it is a record of slow and mid-tempos with a light scent of violin, mandolin, and a typical fragile guitar. Knopfler has written a number of his most catching tunes in which can be felt pain and loneliness that recently came back in connection with the devastation of New Orleans and the attacks on the New York Twin Towers.
This time the most beautiful moments of the album are not brought by favorite Knopfler’s tender solos but by a perfect combination of a growling guitar player’s voice with a bright soprano of a country music diva. The ever-beautiful Emmylou seems to be an ideal Knopfler’s partner. She has the same feeling for the country music as well as for Knopfler’s typical Celtic reminiscences. She is the most elegant melancholic among American women singers.
This magically soothing album of two distinguished personalities has certainly its importance for the American music scene. Today’s American country music is becoming more and more robust and hard, and sounds like a thousand equal rock variations on Creedence Clearwater Revival. And here comes the album that is modern but gets back to the more fragile sound of the middle of the last century and in particular it searches for the inspiration in its ancestral roots – in the Irish and the Scottish folk songs.
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